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CATALOGUE  OF 
THE  GEORGE  A.  HEARN  COLLECTION 
OF  CARVED  IVORIES 


THE    GEORGE    A.  HEARN 

COLLECTION  OF 

CARVED  IVORIES 


THE   PRESENTATION   IN   THE  TEMPLE 


PRIVATELY  PRINTED  :  NEW  YORK  :  ANNO  DOMINI 
ONE    THOUSAND    NINE    HUNDRED    AND  EIGHT 


THE  ILLUSTRATIONS  ARE 
FROM  PHOTOGRAPHS  MADE  EX- 
PRESSLY FOR  THIS  CATALOGUE 
BY  MR.   CHARLES  BALLIARD 


COPYRIGHT,  I908 
BY  GEORGE  A.  HEARN 


THE  GETTY  CEMTER 
LIBRARY 


IVORY  CARVINGS  AND  THEIR 
MAKERS 

FROM  classic  times  down  to  the  present,  ivory 
has  been  employed  for  manifold  artistic 
uses,  and  ivory  carvings  preserve  an  al- 
most unbroken  story  of  the  struggle  of 
man  for  artistic  expression.  Buildings,  monu- 
mental sculpture  and  other  records  have  been  de- 
stroyed during  periods  of  great  upheaval,  but 
sculptured  ivories  remain  in  such  numbers  that, 
from  them  alone,  we  may  learn  the  customs,  dress 
and  domestic  arts  that  marked  the  successive 
centuries. 

Although  ivory  was  employed  freely  for  articles 
used  in  religious  and  domestic  life,  no  reference 
need  be  made  here  to  such  objects  anterior  to  the 
Consular  Diptychs,  or  writing  tablets,  which  were 
introduced  in  the  days  of  the  Roman  Consulate, 
continuing  from  the  fourth  to  the  middle  of  the 
sixth  century,  a  period  of  about  a  hundred  and 
fifty  years.  Although  only  about  fifty  of  these 
exist  to-day,  preserved  in  European  Museums, 
they  throw  light  on  the  customs  of  the  Romans 
and  are  of  great  historical  importance.  These 
Diptychs  are  two-fold  ivories,  hinged  together, 
carved  on  the  outside,  often  with  the  Consul's 

vii 


name  and  portrait.  They  were  used  as  books  for 
recording  memoranda,  the  reverse  sides  being  hol- 
lowed slightly  and  coated  with  wax  upon  which 
the  records  were  inscribed  with  a  stylus,  and  were 
given  away  by  the  Consuls  on  their  inauguration  in 
office  to  the  senators  and  influential  friends.  The 
number  of  these  diptychs  was  so  considerable  that 
only  those  intended  for  friends  in  exalted  position 
were  made  of  ivory,  others  of  simpler  design  and 
smaller,  were  often  of  bone. 

In  the  middle  of  the  sixth  century  Justinian 
abolished  the  office  of  Consul  when  Consular  Dip- 
tychs were  no  longer  used.  In  the  British  Museum 
may  be  seen  one  leaf  of  a  notable  example  of  these 
Consular  ivories.  1 1  measures  five  by  eleven  inches 
and  is  ascribed  to  Marcus  Aurelius  Romulus  Caesar 
A.  D.  308,  and  a  reproduction  of  it  is  included  in  this 
collection  and  may  be  found  illustrated  in  Number 
1 .  Here  the  Roman  official  is  seen  seated  in  a  cov- 
ered car  drawn  by  elephants  towards  a  funeral  pyre. 
Above  is  seen  his  apotheosis,  the  Roman  being 
borne  Heavenward  where  he  is  received  by  waiting 
friends.  Other  Diptychs  also  remain  to  us  and 
are  of  great  historical  and  artistic  value.  Some 
of  these  Diptychs  came  into  possession  of  conti- 
nental churches  as  votive  offerings  and  were 
adopted  by  the  clergy  for  liturgical  uses,  and  thus 
have  been  preserved.  In  the  sacristies  of  Italian 
churches  these  pagan  carvings  may  be  seen  set 
in  elaborate  borders  of  goldsmiths'  work  to  in- 
crease their  size  and  enclosing  numerous  parch- 
ment leaves. 

Brief  reference  must  be  made  here  to  Byzan- 

viii 


tine  ivory  carvings.  When  Constantine  estab- 
lished his  authority  on  the  shores  of  the  Bos- 
phorus,  he  planned  to  make  his  new  capital  un- 
rivalled for  splendor  among  the  cities  of  the  world, 
hence  artists  from  Athens,  Antioch  and  all  Eastern 
centers  flocked  to  Byzantium,  which  he  renamed 
Constantinople,  bringing  their  masterworks  with 
them.  The  adoption  of  Christianity,  amounting 
almost  to  a  revolution,  gave  great  impetus  to 
Christian  art.  It  was  but  natural  then  that  By- 
zantine art  should  show  a  mixture  of  Eastern  and 
Western  traits — Roman  taste  modified  by  Greek 
and  Syrian  influences.  This  mingling  will  be  seen 
at  once  by  glancing  at  the  statuettes  shown  in 
numbers  2,3,  5  and  6.  The  first  thought  of  Byzan- 
tine art  is  one  of  barbaric  magnificence,  a  lav- 
ish use  of  color  and  incrusted  jewels.  But  it  is 
plain  that  the  artist  knew  how  to  handle  the 
draperies  in  spite  of  the  tyranny  of  fixed  rules  and 
court  etiquette,  which  compelled  him  to  clothe  his 
figures  in  the  stiff  sheath  of  cloth  encrusted  with 
a  mosaic  of  jewels.  Here  the  carver  was  allowed 
little  chance  for  invention  but  must  follow  the 
regulations  laid  down  by  the  church.  The  result  is 
stiffness  and  angularity.  The  Byzantine  ivory 
sculptures  invariably  show  this  immobility  of 
line  and  form,  an  influence  that  later  was  felt 
throughout  Europe,  when  the  Eastern  artists, 
spreading  over  the  West,  settled  down  to  practice 
their  art  in  Italy,  Germany,  England  and  France. 

In  making  this  collection  there  was  no  intention 
in  the  mind  of  the  owner  to  cover  the  entire  field 
of  ivory  sculptures,  nor  even  to  secure  historical 


IX 


representatives  of  the  various  periods,  nor  to 
show  the  consecutive  development  of  the  art. 
The  various  pieces  were  bought  at  different  times 
covering  a  period  of  years  because  they  interested 
him,  and  without  relation  to  other  pieces.  Thus 
modern  pieces  as  well  as  those  of  earlier  date 
were  added,  wholly  on  their  merits  as  objects  of 
beauty  without  regard  to  their  period  or  historic 
interest.  In  the  same  way  the  Japanese  vases 
were  added  because  of  their  intrinsic  interest  and 
not  because  they  represented  any  period.  How- 
ever from  such  a  number  of  pieces  the  student 
cannot  fail  to  gather  the  story  and  see  the  thread 
of  development  that  binds  them  together  in  an 
historic  chain. 

The  Byzantine-German  school  of  ivory  carving 
flourished  in  the  Rhine  Provinces.  This  school 
of  carving  is  marked  by  bold  relief  and  a  gloomy 
sincerity.  The  figures  are  usually  large  and 
somewhat  elongated  and  the  craftsmanship  though 
earnest  is  lacking  in  elegance.  In  the  hands  of 
these  Rhenish  carvers  there  is  no  doubting  their 
meaning.  There  is  a  stern  naturalism  to  their 
figures  and  that  love  of  sorrow  and  gloom  which 
came  with  the  Gothic  period  in  the  North,  pre- 
saging later  German  art.  There  is  the  fondness 
for  stern  reality,  and  that  earthly  things  should 
not  be  too  enticing  through  cheerfulness.  Crudity 
of  workmanship  could  be  more  easily  overlooked 
than  a  cheerful  outlook  toward  life. 

With  the  coming  of  the  active  Gothic  age,  with 
its  deeply  religious  spirit,  the  ivory-carvers  were 
kept  busily  employed  in  picturing  the  Biblical 


stories,  with  scenes  of  the  Passion,  pietas,  saints 
and  martyrs,  with  foliations,  birds  and  symbols. 
During  this  period  and  until  the  fifteenth  century 
all  art  was  in  the  service  of  the  church,  and  every 
object  devoted  to  religious  rites  was  lavished  with 
decoration.  Ivory  was  used  largely  for  all  ec- 
clesiastical uses  as  well  as  for  articles  employed 
in  private  devotions.  Besides  the  retables,  cros- 
iers and  reliquary  caskets,  there  were  liturgical 
combs,  triptychs,  statuettes,  shrines,  benitiers, 
book-covers,  and  the  many  lesser  things  demanded 
by  that  devotional  age.  These  devotional  ob- 
jects were  carried  as  talismans  on  voyages,  used 
on  their  long  crusades,  or  employed  in  their 
households,  no  sleeping-room  being  without  its 
shrine,  whose  shutters  were  only  opened  at  times 
of  prayer.  These  shrines  or  triptychs  were  carved 
with  the  scenes  of  the  Passion  or  with  scriptural 
stories  and  were  meant  for  instruction  and  medi- 
tation. Usually  of  small  size  they  were  for 
daily  use  and  meant  to  be  examined  closely  and 
studied  with  loving  care.  Wrought  with  great 
devotion  they  must  have  exercised  wide  influence 
as  teachers  in  those  devout  ages  of  faith.  To-day 
these  heirlooms  of  the  centuries,  carved  with  all 
the  leading  events  in  Biblical  history,  excite  our 
admiration  as  the  works  of  great  creative  artists. 
By  interesting  the  people  in  the  story  or  lesson  of 
the  carving  they  sought  to  prevent  them  from 
worshipping  the  images  themselves,  furthermore 
these  ivories  were  used  for  the  instruction  of  the 
unlettered  multitude. 
The  passionate  fervor  with  which  the  people 

xi 


regarded  the  Virgin  grew  out  of  the  religious 
enthusiasm  of  the  thirteenth  century  and  this 
worship  brought  into  being  countless  images  for 
public  and  private  devotion.  It  was  in  these 
statuettes  that  the  mediaeval  ivoryworkers  reach- 
ed the  culminating  point  of  their  art.  This  col- 
lection contains  a  number  of  these  groups  of 
Mother  and  Child  which  bear  the  stamp  of  elevated 
thought  and  sincerity  in  the  artist  and  the  highest 
skill  in  workmanship.  In  numbers  15,  18,21  and 
21A  may  be  seen  examples  of  fourteenth  century 
work  of  great  beauty  and  tenderness  showing  the 
devotional  spirit  of  the  time  and  the  reverent  care 
and  loving  thought  that  inspired  the  pious  work- 
man. In  these  statuettes  the  Mother  generally 
wears  a  crown,  bows  her  head  to  regard  her  infant 
son,  and  is  often  attended  by  other  figures  of 
saints  or  angels  in  adoration.  The  curve  of  the 
figure  in  these  early  ivories  is  usually  accounted 
for  by  the  shape  of  the  tusk  to  which  the  figure 
was  made  to  conform  while  the  draperies  were 
usually  painted  in  rich  colors,  the  crown  being 
gilded. 

Reference  should  here  be  made  to  some  other 
statuettes  in  this  collection  of  a  later  period  and 
illustrated  in  numbers  25,  27  and  28.  These  are 
of  Portuguese  origin  and  possess  distinct  char- 
acteristics. While  there  was  less  use  of  ivory  for 
sculpture  in  Spain  and  Portugal  than  in  other 
European  countries,  there  came  into  existence  a 
peculiar  product  from  the  Portuguese  colonies  in 
India,  which  should  not  be  overlooked.  They 
are  works  of  a  hybrid  type  and  show  a  strange 

xii 


mingling  of  Oriental  and  Western  influences. 
After  the  Portuguese  in  the  sixteenth  century 
took  Goa  in  India  and  established  themselves, 
their  ivory  products  were  sent  over  to  Western 
Europe  in  large  numbers.  Native  artists  in  Goa 
began  carving  madonnas  and  saints  and  other 
religious  subjects  for  European  use.  While  trying 
to  meet  the  demands  of  Western  taste,  it  was  but 
natural  that  they  should  adhere  to  certain  fixed 
Oriental  traits  and  forms  of  decoration.  Among 
curious  examples  of  Goa  work  is  the  "Pilgrim"  or 
"Shepherd"  rockery,  the  religious  significance  of 
which  has  never  been  quite  clear  to  Western 
minds.  Two  examples  will  be  found  illustrated 
in  numbers  29  and  30.  On  the  summit  of  a  rocky 
mount  sits  a  youthful  shepherd, -usually  asleep, 
while  along  the  paths  below  wander  his  scattered 
flock;  here  and  there  from  out  the  rocks  streams 
of  water  spout  forth  falling  into  basins  below. 
As  might  be  expected  from  Oriental  workmen 
the  ivory  is  carved  with  great  minuteness  of 
detail. 

The  fourteenth  century  produced  the  finest 
carvings  of  the  entire  Gothic  period,  and  although 
it  is  extremely  difficult  to  assign  the  origin  of  a 
mediaeval  ivory  to  one  country  or  another,  stu- 
dents agree  that  to  France  must  be  accorded  pre- 
eminence for  artistic  quality.  It  was  an  age  of 
great  architectural  skill  and  activity  and  the 
ivory  carvers  profited  by  the  work  going  on  about 
them.  Seeing  so  much  exquisite  work  lavished 
on  the  cathedrals  rising  in  every  town,  the  ivory 
workers  commenced  to  copy  the  forms  in  minia- 

xiii 


ture.  Their  pictures  become  better  arranged, 
the  buildings  introduced  are  in  better  proportion 
and  finer  in  detail  and  their  figures  better 
placed.  This  will  seem  but  natural  when  it  is 
stated  that  most  of  the  ivory  carvers  belonged  to 
the  religious  orders  and  carried  on  their  work  in 
the  monasteries,  side  by  side  with  the  men  who 
designed  the  cathedrals,  and  with  other  scholarly 
monks  who  spent  their  time  making  the  illumin- 
ated missals.  The  beautiful  illuminated  manu- 
scripts were  thought  worthy  of  equally  beautiful 
covers,  hence  the  carved  ivory  plaques  were  used 
to  enclose  and  protect  the  parchments.  Ex- 
amples of  such  book  covers  may  be  cited  in  num- 
bers 55,  72  and  73. 

A  triptych  or  three-fold  ivory  has  a  central 
panel  to  which  two  narrower  tablets  are  hinged 
on  the  side,  closing  to  meet  in  the  centre.  Both 
central  leaf  and  wings  are  sculptured  in  relief 
with  sacred  stories,  the  outer  surface  being  gen- 
erally left  plain.  Beautiful  examples  of  this  kind 
of  ivories  will  be  found  in  numbers  39,  40  and 
47.  They  illustrate  the  fertile  imagination  and 
devotional  spirit  of  the  artists  and  are  worthy  of 
the  closest  study  as  examples  of  creative  art.  With 
an  eye  for  decorative  effect,  the  carvers  never 
lost  sight  of  the  devotional  use  and  the  teach- 
ing value  of  these  pictorial  representations  of 
the  sacred  narratives.  There  is  no  overloading 
of  ornament,  no  crowding  of  figures,  to  obscure 
the  story  told  by  these  miniature  shrines  or  ora- 
tories. Where  more  than  one  story  is  to  be  told 
the  space  is  divided  into  compartments  by  archi- 


XIV 


tectural  lines  to  avoid  confusion.  In  portraying 
the  persons  who  figure  in  the  Biblical  stories  the 
artists  always  followed  the  iconographical  types 
which  had  been  established  since  the  sixth  cen- 
tury. For  example  St.  Paul  is  always  represented 
with  a  bald  head  and  long  pointed  beard;  St. 
Peter  with  thick  hair  and  a  round  curling  beard, 
St.  John  with  hair  falling  on  the  shoulders.  Often 
the  symbolism  of  the  Apocalypse  is  followed,  repre- 
senting St.  Luke  with  the  bull,  St.  Matthew  with 
the  angel,  St.  Mark  with  the  lion  and  others  with 
their  special  symbols.  The  vine  is  introduced 
freely  in  representations  of  Christian  symbolism 
just  as  long  before  it  had  been  a  popular  pagan 
decoration.  The  types  of  the  Holy  women  who 
appear  in  the  scenes  of  the  Crucifixion  also  follow 
a  fixed  type  in  order  that  they  may  be  easily 
recognized.  Besides  the  Crucifixion,  the  scenes 
of  the  Nativity  and  the  Magi  bringing  gifts  to 
the  Infant  Christ  were  popular  subjects  which  the 
carvers  repeated  again  and  again  with  variations. 
Later  several  of  the  Miracles  became  popular,  such 
as  the  Marriage  atCanaand  the  Raising  of  Jairus's 
Daughter,  in  which  the  artists  dwelt  more  on 
Christ's  human  relations  as  a  teacher  and  healer 
than  on  His  sufferings.  It  must  be  remembered 
that  in  that  age  few  among  the  general  public 
were  able  to  read.  What  books  existed  were 
religious  manuscripts  mostly  confined  to  the  mon- 
asteries. These  ivories  served  the  purpose  of 
illustrated  books  to  spread  the  sacred  stories 
among  the  people.  They  would  be  studied  and 
discussed  by  the  owner  and  his  friends,  and  every 


XV 


incident  and  expression  would  be  noted  and  fixed 
in  mind.  Since  the  artists  went  to  the  same 
source  for  their  subjects  there  is  bound  to  be  fre- 
quent repetitions  of  these  stories  of  Holy  Writ, 
which  were  matters  of  every-day  talk  and  dis- 
cussion among  the  people.  It  was  the  aim  of  each 
artist  to  picture  the  story  chosen  with  as  much 
power  as  possible  so  as  to  leave  a  definite  image 
on  the  mind  of  the  beholder. 

In  number  53  may  be  seen  an  example  of  the 
portable  shrines.  In  this  polyptych  a  number  of 
leaves  are  hinged  to  fold  about  a  small  tabernacle 
in  which  a  statuette  is  placed,  forming  a  minia- 
ture shrine.  This  is  ornamented  both  within 
and  without  with  carving,  color  also  being  applied. 
In  fact  many  of  the  groups  and  plaques  in  this 
collection  show  traces  of  coloring,  a  custom  which 
was  common  in  the  earlier  centuries.  Sometimes 
the  entire  figure  except  the  flesh  shown  was  gilded ; 
at  other  times  only  the  crown  or  the  border  of  a 
garment.  In  relief  sculpture  often  the  color  is 
used  with  great  reserve  and  discrimination.  In 
some  cases  there  is  only  the  faintest  tint,  the 
artist  showing  the  nicest  discretion  with  only  a 
touch  here  and  there  as  if  to  accent  the  effect.  In 
their  striving  for  grace  and  elegance,  however,  the 
artists,  as  time  advanced,  fell  away  farther  and 
farther  from  the  old  stiff  forms,  until  finally  their 
work  showed  the  exclusion  of  all  spirituality. 

The  age  of  piety  and  Christian  chivalry  was 
succeeded  by  an  age  of  romance  and  classical 
myth.  With  the  advance  of  the  Renaissance 
ivory  carvings  showed  the  popular  admiration  for 

xvi 


the  classical  stories.  When  this  era  of  romance 
set  in,  scriptural  stories  gave  way  to  the  revived 
mythological  allegories  and  romantic  poems.  We 
find  the  fabulous  story  of  Europa  or  the  exploits 
of  /Eneus  or  Alexander,  or  the  legends  of  Venus 
interested  the  carvers  as  did  also  the  Knights  of 
King Arthuror the  Romauntof  the  Rose.  And  since 
ivory  was  employed  for  numerous  domestic  articles 
and  objects  used  for  presents,  these  subjects  are 
found  on  mirror-cases,  powder  horns,  jewel  boxes, 
writing  tablets,  chessmen,  book-covers  and  various 
other  articles.  Secular  objects  were  always  deco- 
rated with  stories  from  the  romances  of  chivalry 
or  with  domestic  scenes.  Following  the  custom 
of  gifts  of  Consular  Diptychs  to  commemorate  of- 
ficial honors,  later  times  employed  carved  ivories 
to  commemorate  marriage  ceremonies,  or  to 
celebrate  some  special  event  like  a  royal  accession 
or  some  triumph  at  arms. 

Plaques  of  ivory  beautifully  carved  were  also 
used  for  the  decoration  of  caskets  which  were  in 
general  use  both  in  churches  and  in  private 
houses  for  the  protection  of  their  treasures.  An 
example  of  such  a  casket  may  be  found  in  num- 
ber 211.  This  handsome  coffer  is  of  Italian  work- 
manship; the  carvings  of  bone  are  laid  on  the 
wood  in  strips  about  two  inches  wide.  Along  the 
central  space  of  the  body  of  the  casket  run  the 
arms  of  various  illustrious  Italian  families.  On 
the  hinged  cover,  made  in  the  form  of  a  truncated 
pyramid,  as  well  as  on  the  base,  appears  marquetry 
of  wood  and  ivory  common  to  Italian  productions 
for  household  use  and  known  as  Certosina  work. 


XVll 


The  horns  of  oxen,  the  tusks  of  walrus  and  other 
animals  are  often  employed  for  ivory.  How  skill- 
fully these  materials  were  worked  may  be  seen  by 
studying  objects  illustrated  in  numbers  105,  108 
and  1 17. 

Horns  made  from  long  tusks  such  as  appear  in 
numbers  112,  113  and  1 14  are  familiar  objects,  and 
often  show  very  elaborate  and  skillful  treatment. 
The  smaller  ones  were  used  for  the  chase,  also 
to  sound  alarm  in  old  feudal  castles  on  the  ap- 
proach of  an  enemy,  or  to  welcome  a  distinguished 
guest.  They  were  also  used  in  churches  to  an- 
nounce the  beginning  and  close  of  the  service, 
then  when  bells  came  into  use,  the  large  oliphants 
or  complete  tusks  were  hung  up  in  the  churches 
as  receptacles  for  venerated  relics.  Numerous 
caskets  and  horns  have  been  preserved  from 
having  been  treasured  as  reliquaries.  Smaller 
horns,  used  as  drinking  horns,  were  lined  with 
silver  and  provided  with  supporting  feet.  Akin 
to  the  horns  are  the  pulverines  (numbers  108, 
109) ,  or  powder  flasks,  generally  made  of  the  stag's 
horn,  but  sometimes  of  ivory,  which  were  pro- 
duced in  the  sixteenth  and  seventeenth  centuries. 
They  were  often  of  elegant  design  and  exquisite 
workmanship  and  are  either  of  Italian  origin  or 
show  Italian  influence  in  their  decoration. 

With  the  seventeenth  century  came  a  great 
change  in  public  taste.  Classical  adaptations  and 
the  love  for  nudities  was  carried  to  extravagance 
through  all  the  world  of  art.  The  age  of  Donatel- 
lo's  purity  was  followed  by  the  age  of  Bernini's 
muscular  nymphs  and  sprawling  putti  among 

xviii 


heavy  cloud  masses.  The  general  state  of  sculp- 
ture was  debased.  Furthermore  with  the  grow- 
ing popularity  and  excellence  of  wood  carving, 
especially  in  Germany  and  Flanders,  came  the 
decline  of  ivory  carving.  Many  of  the  artists 
turned  their  attention  to  the  more  popular  em- 
ployment. Those  that  still  held  to  ivory  working, 
following  the  taste  of  the  time,  borrowed  their 
classical  subjects  at  second  hand  from  paintings 
and  engravings  and  became  mere  copyists.  Their 
subjects  were  drawn  wholly  from  classical  myths; 
laughing  satyrs,  dancing  nymphs  and  piping 
Pans  follow  drunken  Silenus  in  mad  Bacchanalian 
revels  around  the  surfaces  of  cups  and  tankards 
and  ewers  attended  by  troops  of  children  and 
playful  goats.  Sea  gods  and  naiads  disport  them- 
selves among  dolphins,  while  Bacchus  Helios 
clasping  his  Thyrsis  holds  aloft  his  empty  wine 
cup  and  cheers  the  little  figures  gathering  grapes 
and  treading  out  the  wine.  These  pagan  scenes 
of  the  Roman  Saturnalia  were  almost  universal. 
Diana  Lucifera  in  her  chariot  is  attended  by  pa- 
gan dryads,  Venus  with  her  nymphs  and  amorini 
completes  her  toilet  with  no  thought  of  privacy, 
and  Apollo  watches  his  rearing  horses  in  their 
efforts  to  break  away  from  the  surface  of  the 
tankard.  Works  of  this  kind,  presenting  the 
apotheosis  of  the  flesh,  of  external  beauty,  are 
in  striking  contrast  to  that  of  the  early  ivory- 
workers,  and  show  the  eager  temperament  and 
unbridled  fancy  of  the  age.  Through  all  runs  a 
voluptuous  touch  and  pagan  fancy,  and  their 
themes  were  repeated  over  and  over  with  slight 


xix 


variation.  They  delighted  in  reproductions  of 
the  Rape  of  the  Sabine  Women  by  Giovanni  da 
Bologna,  or  Fedi's  Rape  of  Polyxena,  or  Bernini's 
Apollo  and  Daphne  and  other  similar  subjects. 
During  this  period  many  were  employed  carving 
portions  of  tusks  with  classical  stories  which  were 
taken  in  hand  by  the  artistic  metal  workers  of 
Augsburg  and  Nuremburg  and  mounted  in  silver 
in  the  form  of  vases  and  tankards.  This  work  has 
gone  on  ever  since,  many  of  the  old  themes  being 
repeated  again  and  again. 

The  large  rose  water  ewers  and  dishes,  such  as 
numbers  177  and  1 78,  mademorefor decorative  than 
for  practical  uses,  came  into  vogue  in  the  middle 
of  the  seventeenth  century  and  were  due  to  the 
efforts  of  one  Michael  Maucher  a  Suabian  carver 
of  great  skill  and  prolixity.  Made  up  from  several 
pieces  joined  by  gilt  metal,  they  offered  opportun- 
ity for  the  introduction  of  an  endless  number  of 
figures,  horses,  dolphins,  amorini  and  foliated 
scrolls  and  became  popular. 

The  great  popularity  of  Rubens  in  the  seven- 
teenth century  exercised  a  perceptible  influence 
on  ivory  carving  and  did  much  to  arrest  the  de- 
cline into  which  it  had  fallen  and  even  to  raise  the 
standard  of  those  about  this  artist.  Several 
Flemish  carvers  came  directly  under  his  influence 
and  patronage.  Francis  Duquesnoy,  Lucas  Fay- 
d'herbe  and  Gerhard  van  Opstal  were  notable  ar- 
tists of  this  period  whose  work  rose  above  the 
general  productions  of  the  time.  Their  work 
showing  groups  of  playing  children,  little  satyrs 
romping  with  goats,  nymphs  teasing  Bacchus  and 


XX 


similar  panels,  is  distinguished  for  its  delicacy  and 
refinement  and  the  treatment  of  the  draperies 
follows  the  best  classical  models.  Their  themes 
later  were  reproduced  by  German  carvers  on 
numerous  plaques  and  tankards. 

In  the  eighteenth  century  a  certain  kind  of 
microscopic  work  came  into  vogue  showing  a  good 
deal  of  patience  and  artistic  skill.  Several  ex- 
amples of  this  species  of  work  may  be  pointed  out 
in  the  Scenes  of  Wallenstein's  campaign  in  the 
Thirty  Years  War  illustrated  in  numbers  127,  130, 
131  and  133,  also  in  the  battle  scenes  illustrated  in 
numbers  121,  122,  123  and  126.  In  these  the  ivory 
is  carved  with  such  extraordinary  minuteness  as 
to  almost  require  a  magnifying  glass  for  its  ex- 
amination. Scores  of  figures  of  horsemen  on  splen- 
did chargers  followed  by  a  train  on  foot  are 
carved  with  great  care  and  minuteness.  Notwith- 
standing the  small  space  of  these  panels  the  artists 
have  preserved  the  life  and  bustle  of  a  festival 
or  the  action  of  a  battle. 

In  the  middle  of  the  eighteenth  century  ivory- 
carving  fell  off  greatly.  While  plaques  and  stat- 
uettes, tankards  and  ewers  were  produced  they 
were  as  a  rule  reproductions  and  inferior  to  the 
earlier  work.  In  our  own  time  the  art  has  been 
revived  by  a  number  of  skillful  workers  some  of 
whom  are  distinguished  artists  in  this  field.  Ex- 
amples of  modern  relief  carving  may  be  found  in 
this  collection,  illustrated  in  numbers  150,  187  and 
199  as  well  as  in  the  brilliant  Charles  V  Enter- 
ing Antwerp  (after  Makart)  which  forms  the  front- 
ispiece of  this  book. 


XXI 


A  wide  field  separates  these  modern  works  from 
those  of  the  middle  centuries,  each  group  having 
its  own  interest.  To  modern  eyes  many  of  the 
early  examples  of  the  sculptor's  art  may  seem  rude 
and  archaic,  but  they  show  the  intensity  and  the 
fervor  of  religious  devotion  which  stirred  that 
earlier  time,  and  for  the  student  and  collector, 
have  far  greater  interest  and  value  than  any  mod- 
ern reproductions  of  the  pictures  and  statues  of 
great  artists;  for  they  carry  the  mind  away  from 
the  bustle  and  noise  of  modern  life  to  the  serener 
upper  air  of  that  devout  age  of  faith. 

W.  Stanton  Howard. 


INDEX  TO  ILLUSTRATIONS 

RELIGIOUS   SUBJECTS   IN    RELIEF  ON 
DIPTYCHS,  TRIPTYCHS,  PLAQUES, 
BOO  K    COVERS,  ETC. 


PAGE 

Adoration  of  the  Magi  17,  23,  43 

Annunciation  71 

Apostles  9 

Archangel  Michael  79 

Baptism  of  Christ   57 

Christ  in  Glory — Votive  Object   5 

Christ  in  the  House  of  Simon   55 

Christ  and  Thomas   25 

Crucifixion   43 

Christ  Before  Pilate   43 

Descent  from  the  Cross  1 1,  69 

Dormition  of  the  Virgin  21 

Elias  Announcing  the  Messiah  59 

Evangelists  129 

Flagellation   43 

Ildefonse  Altar  Picture  73 

xxiii 


PAGE 

Madonna,  Infant  Christ,  St.  Joseph  and  St.  John  47 
Madonna  and  Infant  Christ  with  Donors  .    .  77 


Madonna  of  the  Pesaro  Family  123 

Madonna  and  Child  with  Angels  .  .  .  .125 
Madonna,  Infant  Christ  and  St.  John  .  .  .139 
Marriage  of  Joseph  and  Mary  .  .  .  113,  125 
Miraculous  Draught  of  Fishes  67 

Nativity  of  Christ   67,  75 

Presentation  in  the  Temple    ....   title  page 

Road  to  Golgotha   .    .  13 

Scene  at  Golgotha  53 

Scenes  in  the  Life  of  Christ     .    13,  15,  19,  45,  61 

Scenes  in  the  Life  of  the  Virgin  63 

St.  Francis  and  St.  Gerome  93 

RELIGIOUS  SUBJECTS   IN  STATU- 
ETTES AND  GROUPS 

Archbishops  49 

Christ  Blessing  Little  Children   35 

Christ  and  Emblems  of  the  Passion      ...  41 

Christ  and  Mary    29c 

Crosier  Heads    51 

Female  Saint  in  Adoration   27 

Female  Saint  With  Spear   .   41 

Madonna  and  Infant  Christ  27,  29A,  29B,  31,  63 
Madonna,  Infant  Christ,  St.  Joseph  and  Wise 

Man  29 

Monk   27,  39 

xxiv 


PAGE 

Nun  39 

Resurrection  and  Attending  Angels  ....  33 

Shepherd  Rockeries   37 

St.  Anthony  of  Padua   31 

St.  Matthew  .  41 

St.  Paul    41 

Virgin  Enthroned  on  a  Globe  35 

Virgin  in  Adoration  35,  37 

SECULAR  SUBJECTS   IN   RELIEF  ON 
PLAQUES,  TRIPTYCH  S,  ETC. 

Amphitrite  243 

Arrival  of  Marie  de  Medicis  at  Marseilles   .  .105 

Assassination  of  Henry  III  119 

Attila's  March   109 

Audience  of  Louis  XIV   159 

Battle  of  Alexander  143,  147 

Battle  of  the  Amazons  141 

Battles  of  Constantine  145 

Battle  of  the  English  and  Holland  Fleets  with 

the  French  143 

Battle  of  Pavia  103 

Battle  Scenes  147 

Bohemian  Dance  235 

Car  of  Diana  239 

Charles  V  Entering  Antwerp  .    .    .  Frontispiece 

Children  Playing  231 

Chinese  Vases   261 

XXV 


PAGE 

Consular  Tablet  3 

Cross  Covered  with  Small  Carvings  ....  9 

Death  of  Henry  II  109 

Decorative  Panel  223 

Decorative  Plateau — The  Festival  of  Ceres  .217 
Decorative  Plateau — Frederick  Barbarossa    .  219 
Decorative  Plateau — Frederick  II  in  the  Con- 
quest of  Jerusalem   221 

Departure  for  the  Chase  117 

Domestic  Scene  233 

Don  Quixote  and  Sancho  Panza  243 

Faun,  Children  and  Goat  -231 

Fete  Champetre  under  Louis  XV  .   .    .    .  .  .  233 

Five  Senses  227 

Francis  I  10 1 

Francis  I  Knighted  by  Chevalier  Bayard  .  .  81 
Frederich  II  Crowns  Himself  at  Jerusalem  .  155 
Frederick  the  Great  in  Battle  1 1 1 

Henry  IV  91 

Henry  IV  and  Marie  de  Medicis  ....  93,  95 
Henry  IV  Hunting    .    .    .    .'   .    .    .  .81,111 

Henry  IV  Enters  Paris   89 

Homage  to  Marie  de  Medicis  97 

Homage  to  Pan   .  .163 

Isabella  of  Bavaria   17s 

Joan  of  Arc  and  French  Army    .    .    .    .  85,  101 
Joan  of  Arc  and  Charles  VII  Entering  the  Cathe- 
dral of  Rheims  131 

Judgment  of  Paris  237 

xxvi 


Louis  X 1 1  Showing  Clemency  to  His  Subjects  .  115 

Louis  XIII  at  Susa   79 

Louis  XIV  Giving  Audience   159 

Louis  XIV  at  Strasburg   123 

Louis  XIV  and  Maria  Theresa   167 

Marriage  Contract  at  the  Russian  Court  .  .121 
Marriage  of  Henry  IV  and  Marie  de  Medicis  .  95 

Marriage  of  Psyche  239 

Massacre  of  St.  Bartholomew's  Day  .  .  .107 
Maximilian  I  Crowns  Ulric  von  Hutten  .  .155 
Musicians     .  117,  165 

Napoleon's  Campaign  in  Egypt   157 

Napoleon's  Coup  d'Etat   157 

Nelson  Wounded  at  Trafalgar   1 59 

Neptune  and  Mermaids   241 

Nymphs  Struggling  With  a  Centaur     .    .    .  245 

Offering  to  Venus  233 

Peace — Children  at  Play  167 

Peter  the  Hermit  Preaching  the  Third  Crusade  1 3 1 
Poet  Reciting  His  Verses  Before  His  Sovereign  161 

Powder  Horns   133,  135,  137 

Prisoners  Led  Through  Nuremburg  Streets   .  129 

Rape  of  Europa  23  1 

Relief  Carvings  Framed  in  Carved  Ebony 

Return  of  the  Victor  127 

Richard  Coeur  de  Lion  127 

Sobieski  Delivers  Vienna  87 

xxvii 


PAGE 

St.  George  and  the  Dragon  .  .  .  .  171,  173 
Scenes  from  the  Thirty  Years'  War     .    151,  153 

Toast  to  the  Victor   165 

Toilet  Boxes   133 

Toilet  of  Venus   169 

Triumph  of  Marcus  Aurelius   83 

Venus  and  Naiads  241 

Vintage  and  Wine  Press  241 

Wallenstein  at  Eger   151,  153 

War — Children  at  Play  167 

Women  Bringing  Offerings  to  a  Young  Prince  169 

Youth  and  Wisdom  Presenting  Princes  to 
France   235, 237 

SECULAR  SUBJECTS  IN  STATUETTES, 
TANKARDS,  CUPS,  ETC. 

Apollo  and  Daphne  179,  181 

Byzantine  Statuettes  5,7 

Cabinet  259 

Casket  251,253,255,257 

Conde  and  Madame  de  Montpensier  ....  99 

Cupid  and  Psyche  183 

Cup — Faun  and  Nymphs  197 

Cup  from  Boar's  Tusk  201 

Cup — The  Vintage  207 

Cyrano  de  Bergerac  249 

Diana  and  Bacchus       .  195 

Dejanira  Carried  Off  by  Nessus    .   .    .    187,  193 

xxviii 


PAGE 

Hanap  and  Cover  Set  with  Emeralds  and 


Rubies  209 

Horns  or  Oliphants  137 

Judgment  of  Paris  199 

Lamp  Screens  247 

Madame  de  Montpensier  and  Conde     ...  99 

Merovingian  225 

Minerva   189 

Musicians — Grotesque  Musicians  229 

Nicephorus  III  and  Maria  of  Constantinople  .  5 
Nymph  177 

Peace — Symbolical  Figure  197 

Prometheus  Defended  by  Pandora  .  .  .  .187 
Powder  Horns   133,  135 

Roman  Standard  Bearer  225 

Rose  Water  Ewer  and  Tray,  Saturnalia  of  Venus 

213, 215 

Shepherd  225 

Tankard — Dolphins  and  Sea  Nymphs  .    .  .211 

— Festival  of  Flora  205 

"  — Revels  of  Neptune  and  Naiads  .211 
"     — Triumph  of  Neptune  203 

Trumpeter  of  Sackingen  225 

Venus  185 

War — Symbolical  Figure  197 

Women  of  Pel  ion  Fighting  Centaurs    .    .  .191 


XXIX 


THE  ILLUSTRATIONS 


I.     CONSULAR  TABLET.      APOTHEOSIS  OF  MARCUS  AURELIUS  ROMULUS  (a    D.  308). 
REDUCTION  FROM  THE  IVORY  IN  THE  BRITISH  MUSEUM 

HEIGHT,   5   INCHES;  WIDTH,   2  INCHES 


[3] 


2,   3-      STATUETTES.    BYZANTINE.    NICEPHORUS   III   AND  H I S  WI F  E  M  A  RI  A.  CONSTAN- 
TINOPLE   I O78- I  08  I 

HEIGHT,  7K  INCHES 
4.     THE   SMALL  VOTIVE  OBJECT   REPRESENTS   CHRIST   IN  GLORY 


hi 


[7l 


CROSS  COVERED  WITH   PIECES  OF  CARVED  BONE  MOUNTED  ON  A  METAL 
BASE   SET  WITH  JEWELS  AND  SHOWING  A   CARVED  MEDALLION 

HEIGHT,    iSH  INCHES;  WIDTH,  INCHES 


[9] 


8.      DIPTYCH  OR  FOLDING  DEVOTIONAL  TABLETS.      RHENISH  BYZANTINE. 
THE    CRUCIFIXION   AND  THE   DESCENT   FROM  THE  CROSS 

HEIGHT,  6K  INCHES)  WIDTH,    I  \%  INCHES 


10.      DEVOTIONAL  TRIPTYCH.      XV  CENTURY.     THE  ROAD  TO  GOLGOTHA. 
HEIGHT,  4  INCHES;   WIDTH,   5  INCHES 


[•9] 


[21] 


[25] 


STATUETTES.    XV  CENTURY.    MADONNA  AND  INFANT  CHRIST.      HEIGHT,  8X  INCHES 

19.      FEMALE   SAINT  IN   ADORATION.      HEIGHT,    10  INCHES 

20.     A  MONK;  THE  HEAD,  WITH  HAIR  AND  EYES  COLORED,  IS  OF  SEPARATE 
PIECE   AND  DETACHABLE.      HEIGHT,  8X  INCHES 


[27] 


[  29B  ] 


[29c] 


STATUETTES.     THE   VIRGIN    IN  ADORATION 

HEIGHT,  6K  INCHES 
.      CHRIST   BLESSING   LITTLE  CHILDREN 
HEIGHT,  9  INCHES 
THE   VIRGIN    ENTHRONED  ON   A  GLOBE 
HEIGHT,  6K  INCHES 

[35] 


28.      STATUETTE.      THE   VIRGIN   IN   ADORATION.      HEIGHT,    13  INCHES 
29,  30.     TWO   SHEPHERD   ROCKERIES.       PORTUGUESE   (GOA)  CARVINGS 
HEIGHT,    IOK  INCHES 


[37] 


[39) 


[43] 


39-      DEVOTIONAL  TRIPTYCH.      XV  CENTURY.      SCENES   FROM  THE   LIFE  OF  CHRIST 
EACH  OF  THE  THREE  PARTS  IS  DIVIDED  INTO  THREE  REGISTERS  BY  GOTHIC  ARCADES.  THE 
CENTRAL  SERIES  SHOWS  THE  OFFERINGS  OF  THE  MAGI,  THE  CRUCIFIXION  AND  THE  ASCEN- 
SION.     IN  THE  SIDE  SERIES,  THE  NATIVITY,  THE  KISS  OF  JUDAS,  JUDAS  HANGING,  THE  ENTRY 
INTO  JERUSALEM,  AND  THE  RESURRECTION. 

HEIGHT,    IOK  INCHES;   WIDTH,    IOH  INCHES 


[45 1 


40.     TRIPTYCH,   MADONNA  AND   INFANT  CHRIST  WITH   ST.  JOSEPH  AND 

ST.  JOHN 

HEIGHT,   7   INCHES;   WIDTH,  4H  INCHES 


[47] 


41,  42>  43-     PORTRAIT  STATUETTES  OF  ARCHBISHOPS.     XV  CENTURY 
HEIGHT,  7^  INCHES.       HEIGHT,    II    INCHES.       HEIGHT,  QfA  INCHES 
THE  CENTER  ONE  HOLDS  A  SILVER  STAFF,  AND  HIS  MITRE,  COPE  CLASP  AND  SHOES 

ARE   SET  WITH  JEWELS 


[49] 


to 

O 

UJ 

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to" 

I 

u 

to 

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O 

UJ 

a! 

Z 

z 

u 

0 

0 

UJ 

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Q  " 

z 

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C 

D 

OS 

Z 

RY. 

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H 

AN 

Z 

UJ 

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UJ 

u 

HI 

w 
u 

DE: 

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X 

to 

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UJ 

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[5'1 


[55] 


t57l 


51.     TRIPTYCH.     THE    PROPHET   ELIAS  ANNOUNCING  THE  MESSIAH 
HEIGHT,    13^  INCHES,'   WIDTH,  6lA  INCHES 


[59] 


TRIPTYCH  MOUNTED  IN  WOOD.    XV  CENTURY.     SCENES  IN  THE  LIFE  OF  CHRIST 
HEIGHT,  15  INCHES;    WIDTH,  I  INCHES 


[61] 


53-     DEVOTIONAL  POLYPTYCH  ENCLOSING  STATUETTE  OF  MADONNA  AND   INFANT  CHRIST.  THE 
WINGS  SHOW  SCENES  FROM  THE  LIFE  OF  THE  VIRGIN:  THE  ANNUNCIATION,  THE  NATIVITY, 
THE  ADORATION  OF  THE   KINGS,  THE   FLIGHT  INTO   EGYPT,  ETC. 

HEIGHT,    1 37s   INCHES;   WIDTH,   OPEN,  SH  INCHES 


[63] 


IVORY    POLYPTYCH    WITH    PAINTED   DECORATION    (EXTERIOR    VIEW   OF  PRECEDING) 


54-     THE  MIRACULOUS  DRAUGHT  OF  FISHES — AFTER  KASPER  DE  CRAYER  (BRUSSELS  MUSEUM) 
HEIGHT,  4K   INCHES;  WIDTH,    IOr<  INCHES 


[69] 


57-    DEVOTIONAL  DIPTYCH.     THE  ANNUNCIATION 
HEIGHT,  8  INCHES;  WIDTH,  7K  INCHES 


[7-] 


58.     TRIPTYCH.     THE  ILDEFONSE  ALTAR  PICTURE.     AFTER  RUBENS 
(IMPERIAL  MUSEUM,  VIENNA) 
ON  THE  WINGS  ARCHDUKE  ALBRECHT  AND  ARCHDUCHESS  CLARA  EUGENIA  ISABELLA 


[73] 


[75] 


[77l 


[79] 


[8i] 


[85] 


68.      HISTORICAL  TRIPTYCH.      HENRY  IV  ENTERING  PARIS 
HEIGHT,  IOX  INCHES;  WIDTH,  IO  INCHES 


[89] 


[9>] 


JO,   yi.      PORTRAITS.      HENRY   IV  AND  MARIE   DE  MEDICIS 
HEIGHT,   4  INCHES;   WIDTH,   3  INCHES 


72,  73.      BOOK  COVERS.     ST.   FRANCIS  AND  ST.  JEROME 
HEIGHT,  6H   INCHES;   WIDTH,  4  INCHES 


[93] 


[95] 


75-      HISTORICAL  TRIPTYCH.  HOMAGE  TO  MARIE  DE  MEDIC1S,  QUEEN  OF  HENRY  IV  OF  FRANCE 

HEIGHT,  9J4    INCHES;   WIDTH,   7X  INCHES 


[97] 


76,  77-      PORTRAIT  STATUETTES.   MADAME   DE   MONTPENSIER  AND  THE   GRAND  CONDE 

HEIGHT,    IOT4  INCHES 


[99] 


78.     TRIPTYCH.    JOAN  OF  ARC  AT  COM  PEIGN  E 
HEIGHT,  SH  INCHES;   WIDTH,  8  INCHES 


80.      HISTORICAL  TRIPTYCH.     THE  BATTLE  OF  PAVIA,    I  525,   IN  WHICH  THE  FRENCH  ARMY 
LED   BY   FRANCIS   I   WAS    DEFEATED    AND  HE  TAKEN  PRISONER 

HEIGHT,    IOH   INCHES;   WIDTH,  8X  INCHES 


[  103] 


HISTORICAL   TRIPTYCH.     THE    ARRIVAL   OF    MARIE    DE    MEDICIS    AT  MARSEILLES 
HEIGHT,    IO/4   INCHES;   WIDTH,    IOK  INCHES 


[■05] 


82.      HISTORICAL  TRIPTYCH.     THE  MASSACRE  OF  ST.   BARTHOLOMEW'S  DAY 
HEIGHT,    I2X   INCHES;   WIDTH,    II  INCHES 


[107] 


83.  RELIEF  PANEL.  DEATH  OF  HENRY  II 
HEIGHT,  47s  INCHES;  WIDTH,  7  1 2  INCHES 


HISTORICAL  TRIPTYCH.     TRIUMPHAL  MARCH  OF  ATTILA,  KING  OF  THE  HUNS 
HEIGHT,  4H  INCHES;  WIDTH,  6js  INCHES 


[  I09] 


[Ill] 


["3] 


[i>5] 


[  n7] 


[ii9l 


[  12'  ] 


[ 


99-  TRIPTYCH.  RICHARD  COEUR  DE  LION 
HEIGHT,   5K  INCHES;   WIDTH,  4X  INCHES 


I  O  I .     TRIPTYCH.     THE  FOUR  EVANGELISTS  AND  THEIR  PROTECTING  SAINT 
HEIGHT,   75x   INCHES;   WIDTH,  Q/ 2  INCHES 


IO3.      RELIEF  PANEL.     JOAN  OF  ARC  AND  CHARLES  VII  ENTERING  THE  CATHE- 
DRAL OF  RHEIMS 

HEIGHT,  4I2   INCHES;   WIDTH,   J1 2  INCHES 


[131  ] 


IO5.      HORN   OF  WALRUS  TUSK  106, 
LENGTH,    10  INCHES 

I08.  PULVERINE 
HEIGHT,  9  INCHES 


IO7.     TWO   IVORY  TOILET  BOXES 
DIAMETER,   3  INCHES 

IOC).  PULVERINE 
LENGTH,    I0'4  INCHES 


[  >33] 


['35l 


['37l 


[  139] 


[  14.] 


[  >45l 


[147] 


/ 


[  i49l 


[  15'  1 


[i53l 


[  >55l 


[157] 


[  .so] 


Z  X 

<  U 

z  z 


[  161  ] 


142.      PANEL.      HOMAGE  TO  PAN 
HEIGHT,    5J2    INCHES;   WIDTH,   7.1  2  INCHES 


143.  RELIEF  PANEL  FRAMED  IN  EBONY  INLAID  WITH  IVORY 
ULRIC  VON  HUTTEN  SETTLES  A  QUARREL  BETWEEN  WARRIORS 


[163] 


144-      RELIEF  PANEL.      A  TOAST  TO  THE  VICTOR  WALLENSTEIN  AND  HIS  GENERALS 
HEIGHT,  4?4   INCHES;   WIDTH,    I  Oj  8  INCHES 


145.      RELIEF  PANEL.      GUSTAVUS  ADOLPHUS  WITH  THE  MUSICIANS 
HEIGHT,  4H  INCHES;  WIDTH,    IO>8  INCHES 


[  '65] 


15O.     RELIEF   PANEL.     THE  TOILET  OF  VENUS 
HEIGHT,   7   INCHES;   WIDTH,  6>V  INCHES 

[169] 


151.      RELIEF  CARVING  IN  A  CARVED  WOOD  FRAME.      ST.  GEORGE  AND  THE  DRAGON 

IVORY,  6H  INCHES  HIGH 

[17'] 


152.      RELIEF  GROUP.   ST.   GEORGE   AND  THE  DRAGON 
HEIGHT,  6T4    INCHES;   WIDTH,   4H  INCHES 


[  173] 


153-      HEAD.      ISABELLA  OF  BAVARIA 
THE  HEAD-DRESS  AND  SUPPORTING  BASE  ARE  OF  SILVER;  THE  EARRINGS  AND  FOREHEAD  PENDANT 
ARE   PEARLS.     THE   BASE   IS   STUDDED  WITH  JEWELS 

HEIGHT,  IO  >2  INCHES 


r  -75 1 


I54.      STATUETTE.      A  NYMPH 
HEIGHT,    12  INCHES 

[  177] 


GROUP.     APOLLO  AND  DAPHNE 
HEIGHT,    I  \V%  INCHES 


[.8,] 


GROUP.     CUPID  AND  PSYCHE 
HEIGHT,  24  INCHES 


['83] 


/ 


I58,   159-      STATUETTES.  VENUS 
HEIGHT,  18  INCHES 


[.85] 


l6o.     GROUP.    DEJANIRA  BEING  CARRIED  OFF   BY  THE  CENTAUR  NESSUS 
HEIGHT,  20H  INCHES 

l6l.      PROMETHEUS  DEFENDED  FROM   THE  EAGLE,  THAT  DEVOURED   HIS   LIVER,   BY  PANDORA 

HEIGHT,    l6;H  INCHES 

[  '87] 


163.     GROUP.      WOMEN   OF    PELION   DEFENDING  THEMSELVES   AND  THEIR  CHILDREN  FROM 

THESSALIAN  CENTAURS 

HEIGHT,    19^  INCHES 
[  191  ] 


164.      GROUP.      DEJANIRA    BEING  CARRIED  OFF   BY   THE   CENTAUR  NESSUS 
HEIGHT,  20?4  INCHES 


[■93] 


STATUETTE.      DIANA  AND  BACCHUS 
HEIGHT,  20  INCHES 

[  '95  1 


1 66,    167.      FIGURINES.      REPRESENTING   PEACE   AND  WAR 
HEIGHT,    II  INCHES 

l68.      CUP  WITH   SILVER   BASE   AND  COVER.      FAUN   AND  NYMPHS 
HEIGHT,    I5K  INCHES 


[  '97  1 


i6q.     group.     THE  JUDGMENT  OF  PARIS 
HEIGHT,  2yA  INCHES 


[  199] 


170.    cup  of  boar's  tusk  with  mountings  of  silver 

HEIGHT,    l6  INCHES 


[201  ] 


171.      IVORY   TANKARD.      THE  TRIUMPH   OF  NEPTUNE 
HEIGHT,  22^  INCHES 

[203] 


[205] 


173-      IVORY  CUP  MOUNTED  IN   SILVER.     SUBJECT  OF  CARVING '.  THE  VINTAGE 

HEIGHT,    14  INCHES 


[207] 


174-     HANAP  OF  IVORY' AND  WOOD,  SET  WITH  EMERALDS  AND  RUBIES.     SUBJECT,  VINTAGE  FESTIVAL 

HEIGHT,    19  INCHES 

[209] 


[21,  ] 


[2-3] 


[2"5] 


[2.7] 


[221  ] 


[223] 


I 


1 225  ] 


I 


[227] 


[22Q  1 


189.     RELIEF   PANEL.     CHILDREN  PLAYING 
HEIGHT,  3K  INCHES;  WIDTH,  8  INCHES 


I90.      RELIEF   PANEL.     THE   RAPE  OF  EUROPA 
HEIGHT,   5/2   INCHES;   WIDTH,    12  INCHES 


191.      RELIEF   PANEL.      FAUN   WITH   CHILDREN   AND  GOAT 
HEIGHT,  4  INCHES;  WIDTH,    12  INCHES 


[231] 


193*     RELIEF  PANEL.     FETE  CHAMPETRE  IN  THE  TIME  OF  LOUIS  XV 
HEIGHT,  3  K  INCHES;  WIDTH,  10  INCHES 


I94.     RELIEF  PANEL.     GERMAN  DOMESTIC  INTERIOR 
HEIGHT,  5  H  INCHES;  WIDTH,  9  U  INCHES 


[233] 


195-  RELIEF  PANEL.  BOHEMIAN  DANCE 
HEIGHT,  5  INCHES;  WIDTH,  10  INCHES 


I96.     RELIEF    PANEL.    YOUTH    AND   WISDOM    PRESENTING   TWO    PRINCES   TO  FRANCE 
HEIGHT,  INCHES;   WIDTH,  7  INCHES 

[235] 


[237] 


199-  RELIEF  PANEL.  THE  CAR  OF  DIANA 
HEIGHT,  INCHES;  WIDTH,  I  I  %  INCHES 


200.      FRAMED  RELIEF  CARVING.      THE  MARRIAGE  FEAST  OF  PSYCHE 
HEIGHT,  6  K  INCHES;  WIDTH  9  X  INCHES 


[  239] 


201.      RELIEF   PANEL.      VENUS  AND  NAIADS 
HEIGHT,   3>2   INCHES)   WIDTH,    II  INCHES 


202.     TRIPTYCH.     THE   VINTAGE  AND  THE   WINE  PRESS 
HEIGHT,  4K  INCHES;   WIDTH,  8  INCHES 


HEIGHT,  3K  INCHES;   WIDTH,    II  INCHES 


[241] 


204-      DON   QUIXOTE   AND  SANCHO  PANZA 
HEIGHT,  7  INCHES 


205.      RELIEF   PANEL.  AMPHITRITE 
height,  4H  inches;  WIDTH,  8K  INCHES 


[243] 


206.      DECORATIVE   RELIEF   PANEL.     NYMPHS   STRUGGLING  WITH   A  CENTAUR 
HEIGHT,    I2>2   INCHES;  WIDTH,  6lA  INCHES 

[M5] 


[247] 


[249] 


♦ 


[  253  ] 


[  259] 


213,  2,4-      PAIR  Op   IVORY   VASES  OF  CHINESE   CARVING,   DELICATELY  COLORED 

HEIGHT,    10  INCHES 


[26!  ] 


IX  MINVZIL 

T\mo  la  rtpv- 

; 

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rajtzioNt  KOH 

t  VNA  A1NVZIA 

V     «  7 

4.  ; 

GETTY  RESEARCH  IN^PtTUTE 


3  3125  01360  8498 


